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Pedro Almodóvar.2 “The Path with the Heart”: Creating the Authentic Career1 Silviya Svejenova Department of Business Policy ESADE. Universitat Ramon Llull Received: June, 2005 Abstract This study contributes to the stream of boundaryless career research by detailing a theory of authenticity-driven career creation. The perspective developed here is grounded in an in-depth case study of the trajectory of a creative individual who has followed a very personal career path, remaining true to his creative calling. With authenticity work I denote the set of actions and interactions, which the creative individual undertakes to achieve a distinctive and true-to-self identity and image over time and across audiences. The study reveals that authenticity work is in the duality of identity expression and image manufacturing. Furthermore, it has some elements that are consistent over time and others that keep changing. I identify four stages through which authenticity plays a role in career creation: exploring aspects of multifaceted identity and image; narrowing down and focusing the identity expression and image manufacturing; enhancing one’s control over the creative and business aspects of the artwork, and finally, a quest for professionalism. These stages are labelled exploration, focus, independence, and professionalism, respectively. They are embedded in a structural context that enables and constrains authenticity work. The resolution of the constraints by the creative individuals pushes their careers forward. Keywords: careers, authenticity, creative individual, identity expression, image manufacturing, audience Forthcoming: Journal of Management Studies, 2005, vol. 42, #5, pp. 947-974. Silviya Svejenova. <[email protected]> 1 This research would not have been possible without José Luis Álvarez, whose insights have helped in the development of this paper, although he is not responsible for its present formulation. I am grateful to the guest editors Candy Jones and N. Anand, and the three anonymous reviewers of the Journal of Management Studies for their helpful comments and suggestions. I would also like to acknowledge Carmelo Mazza, Misiek Piskorski, Jesper Strandgaard and the CINEMA research group at the Copenhagen Business School, Dorota Wąsik, and Jin-ichiro Yamada’s stimulating ideas and the assistance of Sheila Hardie and Nardine Collier in editing the manuscript. 1 “Experience has taught me that the more honest and personal my work is, the more successful I am.” Pedro Almodóvar.2 Introduction The idea of human agency – the ability of actors to formulate projects for the future and to carry them out (Emirbayer and Mische, 1998) – has regained vitality in recent research on careers. Traditionally focused on the link with the worlds of occupations and organizations, career studies have shifted their attention to boundaryless and protean career arrangements (Hall, 1976; DeFillippi and Arthur, 1994; Arthur and Rousseau, 1996; Baker and Aldrich, 1996; Jones, 1996; Mirvis and Hall, 1996; Hall, Zhu, and Yan, 2002). Individuals are increasingly considered the owners and agents of their trajectories, capable of enacting their professional lives in weak situations that are ambiguous and provide few salient guides for action (Weick, 1996; Álvarez, 2000). In such cases, the career contract is not with an organization, it is with the self (Hall, Zhu, and Yan, 2002). The interest in the self as an originating agent is not new. It has been central to both historical and contemporary expressions of symbolic interactionism, which have advocated an “active, creative, and agentive view of the self” (Gecas, 1982: 18). Notions, such as effectance or competence motivation, self-efficacy, or instrumentality, among others, have depicted individuals as perceiving or experiencing themselves as causal agents of their environment (Gecas, 1982). Identity as self-efficacy and authenticity has been considered an important dimension in constructing boundaryless careers (Baker and Aldrich, 1996) and one of the strategies individuals use to adapt to new jobs in career transitions (Ibarra, 1999). Agency and authenticity are especially valuable for the shaping of meaningful careers in art (White and White, 1965; Storr, 1985; White, 1992). Peterson’s (1997) 2 In Mata (2003: 38) 2 study of the creation of country music has provided the most systematic account so far of authenticity in a creative industry. With his attention to the fabrication of authenticity, its negotiation and social construction, and the influence of several ‘milieus’, such as careers, market, industry structure, among others, Peterson’s (1997) work on authenticity is related to the production of culture perspective. Tracing the consolidation of the production perspective, Peterson and Anand (2004) have extended the idea of ‘milieus’ and introduced six facets of production (technology, law and regulation, industry structure, organization structure, occupational career, and market) that are interdependent; a major change in one of the facets can set off the entire production system in motion and eventually lead to its restructuring. With its focus on ‘milieus’ (Peterson, 1997) and production facets (Peterson and Anand, 2004), the perspective has emphasized that symbolic elements in creative industries are shaped by the systems of production in which they are embedded. However it has failed to acknowledge the agency of exceptional individuals. In this sense, the research opportunities for developing the perspective lie not only in the domain of the macro- or societal-level analysis, as Peterson and Anand (2004) have suggested, but also in the provision of a micro- foundation that is able to bring together action and structure. In this study I attempt to complement the production of culture perspective (Peterson, 1997; Peterson and Anand, 2004) with micro- level analysis by examining the role of authenticity in the creation of a creative career. On the basis of an in-depth case study of a renowned Spanish film-maker, I develop a process model of an authenticity- driven creative career. The model consists of four stages: exploration, focus, independence, and professionalism, similar to Jones (1996) who also identified four stages of a career in the creative industries. These stages are bridged by authenticity work, which is manifested in the duality of identity expression and image manufacturing. To put the actions and interaction of the creative professional into context, 3 accounts of structural conditions are outlined for each of the stages. The research suggests that a creative professional can achieve a meaningful career through authenticity work that brings about both continuity and change. The study’s primary aim is to contribute to the stream of boundaryless career research by shedding light on how creative professionals achieve meaningful careers on the basis of authenticity work. In this sense, it is seen to extend the work of Baker and Aldrich (1996) who have acknowledged the importance of authenticity and self-efficacy in shaping a boundaryless career but have not examined the process by which that shaping takes place. Furthermore, it is expected to shed light on what Ibarra (1999) has labelled ‘true-to-self’ strategies in the adaptation to new professional roles, for which the concern with authenticity is dominant. While Ibarra (1999) focuses on the periods of transition, this study looks at the pattern of the career in its entirety. Finally it also seeks to complement the model of Jones (1996) of the four career stages in creative industries: beginning, crafting, navigating, and maintaining the career. While Jones (1996) focuses on aspects of careers in project networks, the model detailed in this paper seeks to comprehend how authenticity work shapes the career trajectory. Given the interest in authenticity-driven career creativity, and that authenticity is considered an element of identity, I begin with a review of the relevant literature on individual identity. Next I outline the research methodology. Then I delineate the context of the Spanish film industry and the evolution of the career of the filmmaker Pedro Almodóvar. The paper concludes with a process model of an authenticity-based career creation. Directions for future research and implications are provided. 4 Individual Identity Identity is the content and organization of the self-concept, ‘that vast domain of meanings attached to the self’ (Gecas, 1982: 10). In stable societies this content is ‘to a great extent assigned, rather than selected or adopted’ (Howard, 2000: 367). The social psychological literature on identity is replete with somewhat overlapping and related notions, such as self-concept, self-image, self-efficacy, self-esteem, self- presentation, to mention but a few. Two main streams of researchers in the Symbolic Interactionist tradition – processual and structural interactionists – have sought to clarify this complexity (Gecas, 1982; Howard, 2000). The former group has defined identity as negotiated and constructed in interaction, i.e. a situated, emergent identity, while the latter has considered it in terms of roles, i.e. a role identity. Goffman’s work, representative of the processual interactionism, has dealt with the dynamics of self-presentation and has paved the way to the importance of image as a conveyor of an identity. In the opening of his book The Presentation of Self, Goffman (1959) has quoted Santayana saying that: “Words and images are like shells, no less integral part of nature than are
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